The body center stage
Chouinard’s Jérôme Bosch: Le Jardin des délices as a queering translation
This article examines Marie Chouinard’s choreography Jérôme Bosch: Le Jardin des délices (2016) as an
intermedial translation of Bosch’s homonymous painting. Taking the concepts of distribution of the sensible and esthetic regime developed by
Rancière (2004) as groundwork, I consider how dance and translation participate in the
political by challenging traditional hierarchal author–translator relationships, by introducing new corporealities and discourses in the
realm of the visible and by exploiting the slippage of meaning that can be produced in the reiteration of discourse and citationality that
characterize these two disciplines. I conclude by arguing that in engaging with these three lines of thought, Jérôme Bosch: Le
Jardin des délices offers a model of translation as an embodied and situated practice that combines the esthetic and the
political by bringing a dialogue between equally participating subjects to bear upon a specific context.
Article outline
- Introduction
- Redistributing the sensible on page and stage
- Beyond fidelity and betrayal: The intervenient translator
- A queering translation
- Conclusion
- Acknowledgements
- Notes
-
References
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